National Institute of Zorig Chusum, Thimphu, Bhutan

Nestled in the heart of Thimphu, Bhutan, the National Institute for Zorig Chusum is a cornerstone of the country’s cultural preservation efforts.

Established in 1971 under royal patronage, the institute was created to safeguard and promote Bhutan’s thirteen traditional arts and crafts—collectively known as Zorig Chusum. These crafts are deeply intertwined with Bhutanese identity and Buddhist heritage, ranging from thangka painting and wood carving to embroidery, sculpture, and goldsmithing.

Students at the institute undergo rigorous training programs that span four to six years, depending on their chosen discipline. The curriculum blends hands-on craftsmanship with theoretical knowledge, ensuring that graduates not only master their art but also understand its cultural and spiritual significance. Instruction is led by highly skilled artisans, many of whom are considered masters in their field. The institute offers national certification and diploma programs, with courses in painting (Lhazo), sculpture (Jimzo), tailoring (Tshemzo), and more.

Visitors to the institute are welcomed into classrooms where students are actively engaged in their work. It’s not uncommon to see young artists meticulously painting religious scrolls or carving intricate wooden statues. The atmosphere is both serene and industrious, reflecting the discipline and reverence with which these crafts are approached. A small showroom on-site sells student-made pieces, offering travelers a chance to take home authentic Bhutanese art while supporting the next generation of artisans.

Beyond its educational mission, the National Institute for Zorig Chusum plays a vital role in Bhutan’s broader cultural ecosystem. Graduates often go on to restore temples, create sacred art for monasteries, or teach in rural communities, ensuring that these ancient skills continue to thrive. In a rapidly modernizing world, the institute stands as a beacon of tradition—empowering young Bhutanese to carry forward their heritage with pride and purpose.

Entrance gate to the institute

Sculpture of The Four Harmonious Friends in the center of the main courtyard
In Vajrayana Buddhism, the tale of The Four Harmonious Friends—a bird, a rabbit, a monkey, and an elephant—is a beloved parable that encapsulates the values of interdependence, respect for seniority, and communal harmony.

Originating from the Jataka tales and preserved in the Vinayavastu scriptures, the story teaches that true cooperation arises when beings honor each other's wisdom and experience. The bird, being the eldest, is revered not for its size or strength but for its seniority and moral guidance. This inversion of the typical power hierarchy is a profound spiritual lesson: harmony is achieved not through dominance, but through mutual respect and selflessness.
Symbolically, each animal represents a different realm of existence—sky (bird), underground (rabbit), trees (monkey), and earth (elephant)—and together they embody the unity of all life forms. Their collaborative effort to enjoy the fruits of a tree, which each helped nurture in their own way, reflects the Buddhist principle of dependent origination: nothing exists in isolation, and all beings are interconnected. The story also illustrates the five moral precepts, as the bird teaches the others to refrain from killing, stealing, lying, sexual misconduct, and intoxication—guiding them toward a virtuous life.
At the National Institute of Zorig Chusum in Thimphu, the statue of The Four Harmonious Friends stands prominently in the main courtyard, serving as both a spiritual emblem and a cultural touchstone. Crafted with meticulous attention to traditional Bhutanese aesthetics, the statue is more than decorative—it’s a daily reminder to students and visitors of the values that underpin Bhutanese identity. In a place devoted to preserving the thirteen traditional arts (Zorig Chusum), the statue reinforces the idea that artistic mastery must be rooted in humility, cooperation, and reverence for tradition.
The statue’s placement at the heart of the institute is deeply intentional. It invites reflection on the role of art in spiritual life and the importance of passing down wisdom through generations. Just as the four animals support one another—literally stacked in ascending order of age—the students are encouraged to build upon the foundations laid by their elders. In this way, the statue becomes a living metaphor for the institute’s mission: to cultivate harmony between past and present, tradition and innovation, and individual skill and collective purpose.

Sculptural ensemble in the main courtyard

List of certificates and diplomas that can be obtained at the institute
Aspiring artisans can pursue nationally recognized certifications and diplomas in Bhutan’s traditional arts and crafts.

The institute offers National Certificate Level II and III programs in disciplines such as Painting (Lhadri), Wood Carving (Parzo), Sculpture (Jinzo), Gold and Silver Smithing (Troezo), Embroidery and Tailoring (Tshemzo), and Weaving (Thagzo). These programs are designed to equip students with both technical proficiency and cultural literacy, ensuring that graduates are not only skilled craftspeople but also custodians of Bhutanese heritage.
The National Certificate Level II (NC2) is typically the entry-level qualification, focusing on foundational skills and techniques. Students learn through hands-on practice under the guidance of master artisans, with an emphasis on precision, discipline, and traditional aesthetics. Upon successful completion, they may advance to National Certificate Level III (NC3), which delves deeper into complex methods, design theory, and independent project work. These certificates are aligned with Bhutan’s vocational standards and are recognized by the Ministry of Education and Skills Development.
In addition to certificate programs, NIZC offers a National Diploma in Painting, which is a more advanced and specialized course. This diploma emphasizes mastery of Lhazo, the sacred art of thangka painting, and includes modules on iconography, pigment preparation, and religious symbolism. Recently, the institute also introduced a National Diploma in Fashion and Apparel Design, reflecting a growing interest in blending traditional techniques with contemporary design sensibilities. These diploma programs are competitive, with limited slots and rigorous selection processes.
Graduates of NIZC often go on to work in cultural preservation, temple restoration, or independent craft enterprises. The institute’s qualifications not only open doors to employment but also serve as a badge of honor in Bhutanese society, symbolizing dedication to tradition and artistic excellence. Whether pursuing a certificate or diploma, students at NIZC are part of a lineage that values craftsmanship as a spiritual and cultural calling.

Mask Carving
Mask carving is taught as part of the broader Parzo (woodcarving) discipline, one of Bhutan’s thirteen traditional arts.

These classes focus on the creation of ceremonial masks used in religious festivals such as Tshechu, where masked dances are performed to honor Guru Rinpoche and other deities. The masks are not merely decorative—they are sacred objects imbued with spiritual symbolism, and their crafting requires both technical skill and deep cultural understanding.
Students begin by learning the fundamentals of wood selection, tool handling, and traditional carving techniques. As they progress, they study iconography and the symbolic meanings behind various mask forms—such as wrathful deities, protective spirits, and animal manifestations. Each mask must adhere to strict proportions and stylistic conventions rooted in Vajrayana Buddhist tradition. The process involves carving, smoothing, painting, and sometimes gilding, with an emphasis on precision and reverence.
The mask carving classes are taught by master artisans who have inherited their skills through generations. Instruction is highly hands-on, with students spending hours shaping intricate details and learning to express emotion and movement through static forms. The atmosphere in these workshops is one of quiet concentration, punctuated by the rhythmic tapping of chisels and the occasional hum of devotional chants. Students are encouraged to approach their work as a form of meditation, aligning their intentions with the spiritual purpose of the masks.
Graduates who specialize in mask carving often contribute to the restoration of monastery collections or produce masks for use in community festivals. Their work helps preserve Bhutan’s intangible heritage and ensures that the sacred dances continue to be performed with authenticity. At NIZC, mask carving is more than a craft—it’s a living tradition that bridges art, spirituality, and national identity.

Tailoring NC 2A
The NC 2A Tailoring program is part of Bhutan’s broader initiative to preserve and promote traditional arts through vocational education.

This course, officially listed as BQF Certificate Level 2 in Tailoring, is designed for students who have completed Class X and are eager to develop foundational skills in Tshemzo—the Bhutanese art of tailoring. The program spans 13 months, beginning in May, and is supported by the Ministry of Education and Skills Development.
Throughout the course, students are trained in essential tailoring techniques such as basic pattern drafting, garment construction, hand stitching, and machine sewing. The curriculum emphasizes traditional Bhutanese attire, including gho and kira, while also introducing students to modern tailoring practices. Instruction is hands-on and guided by experienced faculty, many of whom are skilled artisans with deep knowledge of Bhutanese textile heritage. The goal is to equip students with the technical proficiency and cultural understanding needed to produce garments that reflect Bhutan’s identity.
In addition to the core tailoring modules, students are required to complete a two-week Basic Entrepreneurship Course at the end of the program. This component helps them develop business acumen, preparing them to start their own tailoring ventures or work in local craft industries. To support their learning journey, students receive a monthly stipend of Nu. 3500 and are provided with accommodation on campus. This holistic approach ensures that graduates are not only skilled in their craft but also empowered to contribute economically and creatively to their communities.
The NC 2A Tailoring course is a gateway into Bhutan’s vibrant world of traditional arts. It blends practical skill-building with cultural preservation, offering young Bhutanese a meaningful path toward craftsmanship and self-reliance.

Tailoring NC 2B
The NC 2B Tailoring program is a continuation of Bhutan’s commitment to nurturing traditional craftsmanship through structured vocational training.

The NC 2B represents a specialized track or second intake within the BQF Certificate Level 2 in Tailoring, which spans 13 months and is open to students who have completed Class X. This course is part of the institute’s broader effort to preserve Tshemzo, the Bhutanese art of tailoring, while equipping youth with practical skills for employment and entrepreneurship.
Students enrolled in the NC 2B program receive hands-on training in garment construction, pattern drafting, and sewing techniques, with a strong emphasis on traditional Bhutanese attire such as the gho and kira. The curriculum blends cultural heritage with modern tailoring practices, allowing students to develop both technical proficiency and artistic sensibility. Instruction is delivered by experienced faculty members who are deeply rooted in Bhutanese textile traditions, ensuring that students gain authentic knowledge and skills.
To support students’ transition into the workforce, the program includes a two-week Basic Entrepreneurship Course at the end of the training. This module introduces business fundamentals, helping graduates launch their own tailoring ventures or contribute to local craft industries. Students also benefit from a monthly stipend of Nu. 3500 and on-campus accommodation, making the program accessible to youth from diverse backgrounds.
The NC 2B Tailoring course reflects NIZC’s holistic approach to education—one that values tradition, innovation, and self-reliance. By combining technical training with cultural immersion and entrepreneurial support, the institute empowers students to become custodians of Bhutanese heritage and active participants in its creative economy.

Tailoring NC 3
The National Certificate Level III (NC3) in Tailoring is a specialized program designed for students who have already completed the foundational NC2 course in Tshemzo (tailoring).

This advanced level focuses on refining technical skills, expanding design capabilities, and deepening students’ understanding of Bhutanese textile traditions. The course typically spans 12 months, offering a rigorous curriculum that blends hands-on practice with theoretical instruction.
Students in the NC3 program learn to create more complex garments, including ceremonial attire and customized designs that incorporate traditional motifs. The curriculum includes modules on advanced pattern drafting, garment fitting, fabric manipulation, and decorative embroidery. There’s also a strong emphasis on quality control and finishing techniques, ensuring that graduates can produce garments that meet both cultural and commercial standards. Instructors—many of whom are master tailors—guide students through individual projects that challenge their creativity and precision.
Beyond technical mastery, the NC3 tailoring course encourages students to explore the intersection of tradition and innovation. They are introduced to contemporary fashion principles and taught how to adapt Bhutanese styles for modern contexts, including tourism, performance arts, and boutique retail. This approach not only preserves Bhutan’s textile heritage but also empowers students to contribute to its evolution. The program fosters a sense of pride and purpose, as students learn to honor their roots while envisioning new possibilities.
Graduates of the NC3 tailoring program are well-positioned to launch their own tailoring businesses, work in cultural institutions, or pursue further studies in fashion and design. The institute’s commitment to holistic education—combining craft, culture, and entrepreneurship—ensures that students leave not just with a certificate, but with the confidence and skills to shape Bhutan’s creative future.

Woodcarving
The Woodcarving program is a cornerstone of Bhutan’s effort to preserve Parzo—the traditional art of carving.

Offered as a BQF Certificate Level II course, this program typically spans 12 months and is open to students who have completed Class X. It provides a structured and immersive introduction to Bhutanese woodcarving, blending technical skill development with cultural education.
Students in the program learn to carve intricate designs into wood, creating masks, statues, altarpieces, and architectural elements that reflect Bhutanese religious and aesthetic traditions. The curriculum covers essential techniques such as relief carving, three-dimensional sculpting, and finishing methods like sanding and painting. Instruction is led by master artisans who guide students through both individual and collaborative projects, often contributing to temple decorations and cultural exhibitions.
To support students’ transition into professional practice, the course includes a Basic Entrepreneurship module, which equips them with business skills to start their own workshops or join local craft industries. Students also receive a monthly stipend and accommodation, making the program accessible to youth from diverse backgrounds. This holistic approach ensures that graduates are not only skilled in woodcarving but also prepared to sustain themselves economically and creatively.
The Woodcarving classes at NIZC are more than just vocational training—they’re a gateway into Bhutan’s sacred visual culture. By mastering traditional techniques and understanding their spiritual significance, students become custodians of Bhutanese heritage.

Silver Smith
The Silver Smithing program is part of the institute’s broader commitment to preserving Troezo—the traditional Bhutanese art of working with precious metals.

Offered as a BQF Certificate Level II course, this program typically spans 12 to 16 months and is open to students who have completed Class X. It provides foundational training in crafting silver ornaments, ritual objects, and decorative items that reflect Bhutan’s rich spiritual and artistic heritage.
Students in the Silver Smithing course learn essential techniques such as metal cutting, shaping, engraving, soldering, and polishing. The curriculum emphasizes the creation of culturally significant items like sangphor (ritual containers), dorji (vajra), and phurba (ritual daggers), often used in religious ceremonies. Instruction is hands-on and guided by experienced artisans, many of whom have mastered the intricate symbolism and craftsmanship required for Bhutanese silverwork. The training also includes exposure to goldsmithing, allowing students to develop a broader skill set within the metal arts.
Despite its cultural importance, silver smithing has seen low enrollment in recent years, with only a handful of students currently pursuing the craft. To address this, NIZC is revamping its curriculum and introducing innovative training methods, including ornament and jewelry design. The institute plans to bring in international tutors to inspire students and raise awareness about the economic potential of smithery. These efforts aim to make the program more appealing to Bhutanese youth and ensure the survival of this endangered art form.
As with other programs at NIZC, students receive a monthly stipend, accommodation, and a Basic Entrepreneurship Course to help them transition into professional practice. Graduates may go on to work in religious institutions, open their own studios, or contribute to Bhutan’s growing craft and tourism sectors. The Silver Smithing classes offer not just technical training, but a pathway to becoming stewards of Bhutan’s sacred metalwork traditions.

Sculpture NC IIA
The Sculpture NC IIA program at the National Institute for Zorig Chusum (NIZC) in Thimphu is part of Bhutan’s effort to preserve and promote Jimzo—the traditional art of sculpting religious figures and sacred objects.

This course falls under the BQF Certificate Level II and typically spans 16 months, offering students a comprehensive foundation in clay modeling, statue construction, and iconographic principles rooted in Buddhist traditions. It’s designed for those who have completed Class X and are passionate about contributing to Bhutan’s spiritual and artistic heritage.
Students in the NC IIA Sculpture course learn to sculpt deities, lamas, and other religious figures using clay, with a strong emphasis on proportion, symbolism, and spiritual accuracy. The curriculum includes modules on armature building, clay preparation, and finishing techniques such as polishing and painting. Instruction is led by master artisans who guide students through both individual and collaborative projects, often contributing to temple decorations and monastery commissions. The training is deeply immersive, blending technical skill with cultural reverence.
In recent years, the institute has also introduced modern sculpture techniques as part of its evolving curriculum. A notable initiative includes a six-month course led by a Japanese sculptor through JICA, where students explore abstract forms, human anatomy, and contemporary materials like plaster and bronze. This fusion of traditional and modern approaches allows students to expand their creative vocabulary while maintaining a strong connection to Bhutanese identity.
To support students’ growth, the program includes a Basic Entrepreneurship Course, monthly stipends, and on-campus accommodation. Graduates often go on to work in religious institutions, open their own studios, or pursue further studies in fine arts. The NC IIA Sculpture course is more than just technical training—it’s a gateway into Bhutan’s sacred visual culture, empowering young artisans to shape both clay and legacy.

Entering the main building

Sculpture NC 2
The Sculpture NC 2 program is part of Bhutan’s structured vocational training in Jimzo—the traditional art of sculpting religious figures.

This course falls under the BQF Certificate Level II and is designed for students who have completed Class X. It typically spans 16 months, offering a comprehensive foundation in clay modeling, iconography, and statue construction rooted in Bhutanese Buddhist traditions.
Students in the NC 2 Sculpture course learn to sculpt deities, lamas, and sacred objects using clay, with a strong emphasis on proportion, symbolism, and spiritual accuracy. The curriculum includes modules on armature building, clay preparation, and finishing techniques such as polishing and painting. Instruction is led by master artisans who guide students through both individual and collaborative projects, often contributing to temple decorations and monastery commissions. This immersive training blends technical skill with cultural reverence, ensuring students understand both the craft and its spiritual significance.
To support students’ transition into the workforce, the program includes a Basic Entrepreneurship Course, helping graduates launch their own studios or contribute to local craft industries. Students also receive a monthly stipend and on-campus accommodation, making the program accessible to youth from diverse backgrounds. The institute’s holistic approach ensures that graduates are not only skilled in sculpture but also empowered to sustain themselves economically and artistically.
In recent years, NIZC has also introduced modern sculpture techniques through a six-month course led by a Japanese sculptor via JICA. This initiative allows students to explore abstract forms, human anatomy, and contemporary materials like plaster and bronze, expanding their creative vocabulary while maintaining a strong connection to Bhutanese identity.

Painting NC 3A
The Painting NC 3A program is an advanced vocational course designed to deepen students’ mastery of Lhadri—the sacred art of Bhutanese painting.

Building on foundational skills acquired in earlier certificate levels, this program focuses on refining technique, expanding iconographic knowledge, and cultivating artistic discipline. It typically spans 12 months and is open to students who have successfully completed the NC2 Painting course or its equivalent.
The curriculum emphasizes the creation of religious thangka paintings, mural designs, and decorative motifs used in temples and monasteries. Students study traditional proportions, color symbolism, and the spiritual significance of Buddhist deities and mandalas. Instruction is led by master painters who guide students through complex projects, encouraging both technical precision and meditative focus. The program also includes modules on pigment preparation, brushwork, and surface treatment, ensuring that graduates can produce works of both aesthetic and spiritual integrity.
In addition to studio practice, students are introduced to contemporary applications of traditional painting, such as cultural exhibitions, tourism-related art, and heritage restoration. This allows them to adapt their skills to modern contexts while preserving Bhutanese identity. The course fosters creativity and innovation, encouraging students to explore personal expression within the framework of sacred art. Collaborative projects and critiques help build confidence and a sense of artistic community.
As with other programs at NIZC, students in the NC 3A Painting course receive a monthly stipend, accommodation, and participate in a Basic Entrepreneurship Course to prepare for professional practice. Graduates often go on to work in cultural institutions, religious centers, or establish their own studios. The NC 3A program is not just a technical training—it’s a spiritual journey that empowers young Bhutanese to become stewards of their visual heritage.

Painting NC 3B
The Painting NC 3B program represents one of the highest levels of vocational training in Bhutanese traditional painting.

It is designed for students who have completed the NC 3A level and are ready to undertake more complex and spiritually significant artistic challenges. This advanced course focuses on mastery of Lhadri—the sacred art of painting—and prepares students to become professional artists and cultural custodians.
In NC 3B, students delve into intricate thangka compositions, large-scale murals, and iconographic renderings of Buddhist deities with heightened precision and symbolic depth. The curriculum emphasizes advanced techniques in brushwork, layering, and pigment blending, as well as the philosophical and ritualistic aspects of sacred art. Students are expected to demonstrate not only technical excellence but also a deep understanding of the spiritual narratives embedded in their work.
The program also encourages innovation within tradition. Students explore how Bhutanese painting can evolve in contemporary contexts—through exhibitions, cultural preservation projects, and collaborations with heritage institutions. They are mentored by master artisans and participate in critiques, group projects, and field visits to monasteries and dzongs, where they observe and contribute to restoration efforts. This immersive experience helps them internalize the values of discipline, devotion, and artistic integrity.
Graduates of NC 3B often become instructors, independent artists, or contributors to national heritage initiatives. The course includes a Basic Entrepreneurship module, equipping students with the skills to manage studios or engage in cultural tourism. As with other NIZC programs, students receive a monthly stipend, accommodation, and access to materials. The NC 3B level is not just a technical milestone—it’s a transformative journey that blends artistic mastery with spiritual purpose.

Research Lab
The Painting Research Lab is a specialized initiative that goes beyond traditional classroom instruction.

While the institute is renowned for its structured certificate and diploma programs in Lhadri (Bhutanese painting), the Research Lab serves as a dynamic space for experimentation, documentation, and innovation within the sacred art form. It’s designed for advanced students, alumni, and master artisans who wish to explore new techniques, revive lost motifs, or contribute to the scholarly understanding of Bhutanese iconography.
Classes and activities in the lab often revolve around comparative studies of regional styles, pigment analysis, and the reinterpretation of ancient murals and thangka compositions. Participants engage in collaborative projects that may involve field visits to monasteries, interviews with senior monks, and archival research. The lab also supports digital documentation efforts, helping preserve endangered visual traditions and making them accessible to future generations. It’s a place where art meets anthropology, and where brushstrokes carry centuries of cultural memory.
One of the lab’s key goals is to bridge traditional craftsmanship with contemporary relevance. Students and researchers explore how Bhutanese painting can be integrated into modern design, architecture, and education. Workshops often include guest lectures from historians, conservationists, and international artists, fostering cross-cultural dialogue and expanding the scope of Bhutanese visual arts. The lab encourages critical thinking and creative risk-taking, while remaining deeply rooted in the spiritual ethos of Lhadri.
Though not part of the standard curriculum, the Painting Research Lab is a vital extension of NIZC’s mission to preserve and evolve Bhutan’s artistic heritage. It reflects the institute’s commitment to nurturing not just skilled artisans, but thoughtful stewards of culture.

Embroidery
The Embroidery classes are part of the institute’s commitment to preserving Bhutan’s thirteen traditional arts, known collectively as Zorig Chusum.

This discipline, referred to as Tshemzo, encompasses both embroidery and tailoring, and is taught through structured vocational programs that span several years. Students learn to create intricate designs used in religious textiles, ceremonial garments, and decorative hangings, all of which play a vital role in Bhutanese cultural and spiritual life.
The curriculum emphasizes traditional techniques such as hand-stitching sacred motifs, appliqué work, and the crafting of boots and robes worn by monks and dancers during festivals. Instruction is led by experienced artisans who guide students through the symbolic meanings behind each pattern and color choice. Students also learn how to work with silk, cotton, and brocade fabrics, mastering the delicate balance between durability and aesthetic finesse. The training is rigorous, requiring patience, precision, and a deep respect for Bhutanese heritage.
Beyond technical skills, the program fosters creativity and adaptability. Students are encouraged to explore contemporary applications of embroidery, such as fashion design, cultural exhibitions, and tourism-related crafts. They participate in collaborative projects and critiques, which help build confidence and a sense of artistic identity. The institute also integrates entrepreneurship training, preparing graduates to establish their own studios or contribute to heritage preservation initiatives.
As with other courses at NIZC, students enrolled in Embroidery classes receive a monthly stipend, accommodation, and access to materials. The program not only equips them with marketable skills but also instills a sense of pride in Bhutan’s rich artistic traditions.